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Ennis Fruhauf

A Baroque Partita on
"Ein feste Burg ist unser Gott"
(Four Variations)

Notes

Partita on Ein fest Burg ist unser Gott is a set of four variations on a hymn tune written by Martin Luther (circa 1530). The original isorhythmic form of the melody is known to have appeared in Kirchegesang, Nürnberg, in 1531; the more familiar rhythmic version first appeared in Johann König’s 1738 Harmonischer Lieder-Schatz.

The first variation is written in the manner of a motet, with subsequent phrases of the chorale presented in points of imitation, which are developed contrapuntally and include an augmented statement of the cantus firmus hymn tune in the pedal. The second variation, in triple meter, presents the chorale melody in ornamented form, sounding in the soprano, accompanied by tenor and alto voices on a separate manual, with an active bass line below in the pedal.

The third variation, in a dancing dotted triple meter, offers points of imitation, similar to the first movement, that are based on subsequent phrases of the chorale, while an active bass line is played manually by the left hand rather than in the pedal. The augmented values of a cantus firmus presentation of the hymn tune appear in the tenor voice, played by the pedal. In the mid-section, the cantus firmus sounds up an octave, and then returns to its original range with the appearance of the final phrase. In the fourth variation, the hymn tune is presented in duple meter in the soprano line, harmonized boldly and freely by the lower voices. Between each phrase of the chorale, improvisatory and cadenza-like interpolations are inserted, contrasting with the rich harmonies of the hymn and appearing in different voices of the contrapuntal texture.

In keeping with the tradition of Baroque performance practices, few interpretive instructions are provided. Dynamic markings indicate solo lines and accompanimental voices, and tempo markings are of a general nature only. Registrational concerns will be determined by a specific instrument and vary according to the performer’s preferences.

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